Wireless piano.



No. 699,840. Patented May l3, I902. I. F. GILMORE.

WIRELESS PIANO.

(Amxlication filed June 25, 1901.)

(N0 Mqdel.) 3 Sheets-Sheet 3.

. we ucnms PETERS co.v Pnovauma. WASHINGTON. u. c.

LATENT OFFICE.

IRA F. GILMORE, OF BLOOMINGTON, ILLINOIS.

WIRELESS PIANO.

SPEGIFICATIQN forming part of Letters Patent No. 699,840, dated May 13, 1902.

Application filed June 25, 1901.

T0 at whom it may concern.-

Be it known that I, IRA F. GILMORE, a citizen of the United States, residing at Bloomington, in the county of McLean and State of Illinois,l1ave invented a new and useful Wireless Piano, of which the following is a specification.

This invention relates to musical instruments; and the object is to present an instrument to be performed upon in the same manner as an ordinary piano and having the same general outward appearance, but difiering therefrom in the variety'of tones produced and in the soft, resonant, and prolonged character of the tones as opposed to the sharp and clearly-defined tones of a piano.

The present invention combines in a simple, thoroughly practical, durable, and readily0perable manner a music-box having combined therewith means to give, if desired, a mandolin effect to music produced, a Xylophone and coil-bells tuned to accord with the reeds and with the Xylophone and to produce sympathic notes, thus to prolong and increase the volume of tone. The different musical instruments thus presented are so combined and arrangedthat any one may be played to the exclusion of the other or any two combined or all combined to play at one time, and in addition means is provided whereby to increase or diminish the volume of sound of the music-box as a whole or to increase the volume of the bass reeds thereof and diminish the volume of the treble reeds, or vice versa.

The musical instrument of the present invention is designed, in part, as an improve ment upon a musical instrument for which I obtained Letters Patent dated May 5, 1891, No. 4-5l,667,such improvement referring more particularly to the mechanism for operating the reeds. In the patent referred to I employ ratchet-wheels, one for each key, to operate the reeds, and associate with such key a pawl to actuate the ratchet-wheel. In the present invention I dispense with the ratchet- Wheels and pawls and operate the reeds directly from the keys. Furthermore, in the patent referred to the reeds are of the ordinary comb type, and I have found in practice that these are objectionable, for the reason that if one of the reeds breaks the whole comb Serial No. 65,983. (No model.)

the reeds a separate structure and associating the whole with a sound-board in such manner as to be readily removable when desired.

As a matter of further and specific improvement I provide. means for producing the muffled sound attending the use of the ordinary soft pedal of the piano, the mufflers or dampeners to produce this effect to coact with the sound-board and with the soundchamber in which the reeds of the music-box portion of. the device are housed, the mufflers to be operated by one pedal and to soften the tones of the reeds and at the same time the tone produced by the vibration of the coil bells that produce the sympathio tones.

Further and more specific details of construction will hereinafter appear in the further presentation of the case.

In the accompanying drawings, forming a part of this specification, and in which like numerals of reference indicate corresponding parts, I have illustrated a form of embodiment of 2 my invention capable of carrying my ideas into effect, it being understood that other forms of embodiment thereof may be employed without departing from the spirit of the invention, and in these drawingse- Figure 1 is a view in front elevation, partly in section. Fig. 2 is aview in vertical transverse section. View, in sectional elevation,exhibiting certain mechanism not clearly shown in Fig. 1. Fig. 4 is a transverse sectional View, on an enlarged scale, taken on the line 4 4 of Fig. 2. Fig. 5 is. a view in front elevation, partly in section, taken on the line5 5, Fig. 3, and looking in the direction of the arrow thereon.

The piano-case (designated generally 1) comprises a suitably-constructed base 2, a front lower panel 3, a keyboard-support 4, a keycover 5, hinged front piece 6, sound-opening front 7, suitably hinged to a crosstimber 8, extending from end to end of the casing, top 9, and ends 10. All of these parts may be of the ordinary or any preferred construction, and therefore require no specific description.

Arranged in the back part of the casing is a sectional sound-box 11, the same extending from a point near the base of the piano to a Fig. 3 is an enlarged detailv point near the top thereof and nearly from end to end and supportedfor rocking movement in the ease by a scale-pivot comprising a knife member 2, secured to the under side of the sound-box, and a base 13, provided with agroove, in which the knife-pivot bears. Secured to the sound-box by bolts 11 is the sound-board 15, carrying a plurality of soundboard ribs 16, suitably spaced apart in horizontal relation to each other 011 the soundboard, the bolts 14 in this instance being arranged at the upper and lower portion of the sound-box and passing from the front thereof through the sound-board 15 and being held in place by nuts 17, bearing against the back of the sound-board, the sound-board 15 at the part where the bolts 14 pass being provided witharib18,presentingastrengtheningmeans for holding the bolts 14 in place. Between the rib 18 and the lower portion of the soundboard and the rear edge of the bottom of the sound-box, at the upper and lower portions thereof, is inserted a muffling material, such as strips of felt 19, that operates in a readily-understood manner to prevent any rattling or clattering noise due to vibration of the soundboX and the sound-board. Upon the inner side of the so und-board are arranged a plurality of coil-bells 20, one for each key, graded in size and tuned to accord with the reeds herein after described, the bells being sympathic in character, thereby to prolong and increase the volume of sound of the instrument when played. The means herein shown of associating the coil-bells with the sound-board is one that may be employed and will be found thoroughly effective in use, and consists of a collar 21, through which passes a bolt 22 from the rear of the sounding-board and carrying a nut 23 to clamp the bell firmly against the collar. By this arrangement the sound from the coil-bells will be transmitted to the soundboard and thence to a curved metallic soundconductor 24, secured near the upper portion of the sound-board and deflected upward and forward and terminatingnear the sound-opening front and operating to deflect the soundwaves toward the front of the instrument, whence they escape in the usual manner. It is to be understood that the sound-opening front 7 maybe the usual open-work structure, covered with any suitable textile fabric to preclude entrance of dust to the interior of the device, and is to be moved to and from the sound conductor 24-, according as the sound is to be increased or diminished, as will be readily understood. The means for assembling the sound-conductor 2i with the sound-board 15 is in this instance by means of bolts 25, of which any number maybe em ployed, as may be found necessary. In or der to permit the sound-conductor 24; to be disposed in the manner described, the front wall of the sound-box 11 is cut away, as shown at 26, and through this cut-away portion the sound-conductor projects, as clearly shown in Fig. 1, the cut-away portion 20 being extended to a point some distance below the lower edge of the sound-conductor, thereby to obviate the presentation of any obstruction to the perfect transmission and escape of sound.

Secured to the ends of the sound-box sections, as by bolts 27, is a sectional metallic sound-board 28, upon which is a bridge 29, having its upper surface provided with as many transverse grooves 30 as there are keys on the instrument, and in these grooves are secured the reeds 31, each reed being a separate structure, whereby it may be removed at will and replaced with a new one in case of injury. The reeds are held upon the bridge by a bridge-plate 32, clamped to the bridge 29 by bolts and 3-1:, of which there may be any number. The sound-board 28 is connected with the sound-board 15 by sounding-posts 35, of which there may be any preferred number, and by this arrangement the sound will be conducted from the reeds 31 through the sound-posts 35 to the so und-board 15, thence to the coil-bells 20, thence to the sound conductor 21 and out through the sound-opening. Itis to be understood that all of these parts are to be rigidly assembled, so that there willbe no jarring or buzzingsound, which would result from any loose assemblage of the parts. Secured to the bridge-plate by the bolts 34: are arms 36, and secured to the sound-board 28 are similar arms 37,there being any desired number of the arms 36 and 3'7, the outer face of these arms being turned at right angles to their length, as shown at 38, and are bolted to the semicylindrical sound-chamber 39, in which the body of the reeds 31 are housed, an opening 10 being provided at the front of the sound-chamber 30, through which the reeds project to be engaged by the picking mechanism presently to be described, as clearly shown in Fig. 1. The manner of assembling the sound-chamber 89 with the arms 36 and 37 is through the medium of bolts i1, these being passed through from the outside of the chamber and into the portions 38 of the arms, as shown in Fig. 1. In order that the chamber 39 should have the highest sound conducting properties, the same is made of sheet metal of any desired thickness and has associated with it end plates 4-2, these plates being cut away at each end of the cylinder to permit the sound-board 28 to pro ject beyond the same and to be secured to the ends of the sound-box.

The sound-box 11 is made in two parts, de signed to be independently adjustable and to carry with them the bass or treble reeds 31, thereby to increase or diminish the volume of sound of the bass and treble reeds. To effect this adjustment, I provide two rods 43, the inner ends of which are threaded to engage with the respective fronts of the two sections of the sound-box, each rod passing through supportingtimbers a l, secured to the ends of the casing, the openings through which the rods 1-3 pass being vertically elondue to its association with the sound-board 15 and its attached mechanisms, being to tilt forward, and by the employment of the col lars referred to this will be obviated. To effect adjustment of the sections of the sound-box, and with them the sections of the semicylindrical sound-chamber and the bass and treble reeds, (it beingv understood, of course, that said chamber will be in two sections corresponding with the sections of the sound-box,) the hand-wheels 47, carried by the rods 43, are turned to the right, and thus will move either the bass or treble reeds in greater overlapping relation with the pickers to be described, a reverse movement of the hand-wheels moving the sound-box back to its normal or vertical position. By the employment of these two threaded rods 43 and the manner of associating them with the sound-box fine graduations of sound may be,

produced, as by moving the bass reeds to overlap the pickers as much as possible, and by moving the treble-reeds in the reverse direction to cause very slight overlapping of the pickers loud tones will be produced on the bass-reeds and soft tones on the treble-reeds.

The reverse of the above results may be obtained bytransposing the adjustment of the sections of the sound-box. v

The meansfor picking the reeds 31 to produce a music-box effect comprises pickerarms 48, mounted for longitudinal movement in guides 49, secured to the ends of the key bars 50, thelatter being supported upon the key-balance rail 51 in the usual manner. Each picker-arm comprises a piece of metal having a pointed end to engage with the point of the reed and is mounted in a longitudinal chamher in the guide 49, as clearly shown in Fig. 3. In order to project the picker-arm into the path of the reed when a key is depressed, there is associated with each picker-arm a plate 52, the ends of which are reversely curved, as at 53 and 54, to present cam-surfaces to engage similar surfaces 55 and 56, formed on two supports 57 and 58, hinged, respectively, to a cross-timber 59, secured at its ends to the ends of the casing and to the upperinner edge of the front panel 3, as shown at 60 and 61, respectively. and 58 are connected by a bar 62, secured to the support 58 by two bolts 63 and to the support 57 by a single bolt 64, and connected with the support 57 is a rod 65, working in bearings formed in cross-timbers 66. and 67, secured to the'ends of the casing, the rod 65 carrying a knob 68 at its outer end, by which The supports 57 the rod may be turned. The inner end of the rod 65 engages a nut 69, secured within the support 57, the nut being held from turning within the support by any suitable means. By turning the rods 65, say, to the right the supports 57 and 58 will be moved toward the front of the instrument, thereby moving the picker-arm 48 away from the end of the reed and causing a slighter contact between the parts, thus to effect the playing of softer music, while a reverse movement of the rods will project the picker-arms and cause them to effect more violent vibration of the reeds. It will be observed that when a key-baris depressed and the inner end of the bar rises the cam-surface at the upper end of the plate 2, by contact with the cam-surface 56 of the support 57 throws the picker-arm backward after the reed has been picked, thus leaving the picker-arm out of the path of the reed when the key-bar resumes its normal position, and when the key-bar drops, by reason of coaction between the cam-surface 54 of the plate 52 and the cam-surface 55 of the support 58, the picker-arm is again projected into the path of the reed. It is to be understood that all of the appurtenances here described in connection with the picker mechanism are to be duplicatedupon each key of the piano, so

lower end and adapted to rest upon the reeds 31 to produce a mandolin effect in the music. Secured to the shaft 71 in any suitable manner is an arm 74, having connected with it a bar 75, which passes through the timbers 44 out to the front of the instrument and carries at its outer end a knob 76, by which the rod may be operated. By pushing the rod 75 inward the strip of metal 7 3 will be held free from the reeds, and by pulling it outward the strip of metal will be brought into engagement with the reeds. a

' The Xylophone comprises bars of metal 77, graduated in length to produce tones in consonance with those of the reeds,ofwhichtl 1ere will be one for each key. These bars are supported by suitable hangers 78 from the soundboard 79, supported upon the cross-beams 44 and 70, respectively, the sound-board being associated with the beams byscrews 80 in such manner as to cause the board to be thoroughly resilient. The sound-board carries a plurality of sound-board ribs 81, which operate in the well-known manner to increase the vibratory qualities of the sound-board.

The bars under the operation of the keys are struck by hammers 82, these hammers being carried by curved resilient arms 83, mounted on a shaft 84, carried by the beam 67, the lower ends of the arms 83 being engaged by a block or projection 85, carried by the key-bars 50. When the arms are in the position shown in Fig. 3, upon depression of the key-bar the hammer 82 will be impelled upward against abar and will sound the note at the same time that the picker contacts with the reed corresponding to the key-bar deprcssed,thereby prod ucinga double note-one sharp and clear in character and the other sonorous and resonant in character. In order to keep the arms 83 out of position to be engaged by the projections 85 of the key-bars, a sliding stop 86 is provided, this stop pass ing through the timber 14 and carrying on its inner end a depending arm 87, having its lower end connected with one end of a bar 88, which passes through the entire series of arms 83 and is supported at its other end by a hanger 87, as clearly shown in Fig. 1, the arm 87 being braced by a strut 89. When the stop 86 is pushed in, the bar 88 will contact with the under faces of the arms 83 and lift the entire series and hold them out of the path of travelof the projections 85, so that the instrument will produce only music-box tones, and when the stop is pulled out the arms 83 will be permitted to drop into the path of movement of the said projection, thereby to give a combined Xylophone and music-box tone to the music.

As a means for operating the sound-opening front 7 I provide a pedal 90, fulcrumed in the usual manner upon a pedestal 91, the inner end of the pedal carrying a rod 92, the upper end of which is secured to the arm 93, projecting inward from the lower rearward portion of the sound-opening front. By this simple arrangement by depression of the pedal 90 the sound-opening front may be opened to permit escape of the largest volume of sound.

As a means for muflling the sound-chamber 39 and sound-board 15 I provide two muflling-boards 94: and 95, respectively, the muliiing-board 94; being a flat surface to engage with the sound-board 15 and the muf- Iiing-board 95 being curved to conform to the contour of the sound-chamber 39. The operative faces of both of these muffiing-boards carries a facing of felt 96 or other suitable materiahwhich operates in a well-known manner to prevent vibration of the parts with which it contacts. To the muffler 94 is connected an arm 97, fulcrumed upon a pin 98 on the lower portion of the sound-box 11, the outer end of the arm 97 being connected with a rod 99, the upper end of which carries the muffler-board 95, the rod 99 carrying a padded stop 100, upon which the muffler 95 rests when not in use. The lower end of the rod 99 connects with the pedal 101, extending to the front of the instrument and contiguous to the pedal 90, the pedal 101 being also fulcrumed upon the pedestal 91. It will be readily understood that upon depression of the pedal 101 both the muffler-boards 9-1 and 95 will be brought into engagement with the sound-board 15 and sound-chamber 39 at the same time, so that by this simple arrangement of mechanism the employment of an extra pedal is obviated.

From the foregoing description it is thought that the operation of the instrument will be readily understood; but in order that the advantages accruing from the arrangement of mechanism described maybe more fully appreciated a description of the instrument either as a music-box, a combined music-box and Xylophone, or a combined music-boxhaving mandolin effect and Xylophone will be given. When the device is to be used as a music-box pure and simple-that is to say, when only a music-box is desired-the stop 86 is pushed in to throw the Xylophone-hammers out of the path of engagement of the projections 85 on the key-levers, and the stop '76 is pushed in to move the metallic plates 73 out of engagement with the reeds 31. Upon the keys being operated the reeds will be picked through the picking mechanism described, and the vibration of the reeds will be transmitted through the sound-board 28, thence to the sound-board 15 and coil-bells 20, thence to the metal sound-conductor 24, and thence out to the sound-opening, the same to be opened or closed, as may be desired. To modulate the tones of the volume of music, the pedals 99 and 101 maybe operated to produce the desired effect.

When the instrument is to be operated as a music-box with mandolin effect, the stop 76 is pulled out' to bring the metal plates 73 into engagement with the reeds, and when the instrument is to be operated as a combined Xylophone and music-box the stop 86 is pulled out, thereby to allow the arms 83 to come into the path of movement of the projections 85 of the key-bars 50. As before pointed out, should it be desired to increase or diminish the volume of sound of the reeds the stops 17 will be moved out or in to produce the desired result.

It will be seen from the foregoing description that while the instrument presented will produce a variety of soft and pleasant tones the combination and arrangement of mechanism for producing these is of such simple character that liability to derangement in use or breakage is reduced to a minimum, and, further, that by reason of the arrangement set forth repairs may be readily efiected.

From the foregoing it is thought that the construction, operation, and many advantages of the herein-described invention will be apparent to those skilled in the art without further description, and it will be understood that various changes in the size, shape, proportion, and minor details of construction may be resorted to without departing from the spirit or sacrificing any of the advantages of the invention.

\Vhat I claim is- 1. In awireless piano, the combination with a casing, of a laterally-movable sound-box therein, said box having a sounding-board ber partially inclosing the reeds and having an open side located within the sound-box, and reed-operating mechanism vdisposed to engage the front ends of the reeds.

3. In a wireless piano, the combination with a casing and a vertically-disposed and tiltably-mounted sound-box therein having a sounding-board constituting the rear wall of the box therein, of a series of reeds within the box and extended beyond the front wall thereof, reed-operating mechanism located in advance of the reeds, and means extended beyond the casing for tilting the sound-box to effect the endwise adjustment of the reeds.

4. In a musical instru ment,the combination with a sound-box having a sounding-board constituting its rear wall,'of a semicylindrical sound-chamber extended from the front wall of the sound-box and having an open side disposed adjacent to the sounding-board, a series of reeds partiallyinclosed by the soundchamber, reed-operating mechanism disposed to engage the front ends of the reeds, and means for moving the sound-box for the purpose of moving the reeds toward or from their operating mechanism.

5. Inamusical instrument,the combination with a vertically-disposed sound-box having a sounding-board constituting its rear wall, of a horizontally-disposed sounding-board located within the sound-box, reeds mounted on the horizontal sounding-board and extended through and beyond the front side of the box,-a sound-chamber partially inclosing the reeds and means for operating, the reeds.

6. Inamusical instrument,the combination with a sound-box having a sounding-board constituting the rear wall thereof, of a horizontal sounding-board located within the box, reeds mounted on the horizontal soundingboard and extended beyond the front side of the sound-box, a rearwardly-opening.soundchamber partially inclosing the reeds and opening into the sound-box, and reed-operating mechanism.

7. Inamusicalinstrument,thecombination with a vertically-disposed sound-box, and a sounding-board constituting the rear wall thereof, of a horizontal sounding-board located within the box and disposed inclose relation to the vertical sounding-board, a series of reeds carried by the horizontal sounding-board and extended beyond the front of the sound-box,- a semicylindrical sound-chamber supported by the horizontal soundingboard and having its open rear side disposed adjacent to the vertical sounding-board, and reed-operating mechanism located in front of the semicylindrical sound-chamber.

8. In a wireless piano, the combination with a vertically-disposed, tiltingly-mounted sectional sound-box provided with a soundingboard constituting the rear wall thereof, of a series of reeds supported within the soundbox and terminating at one end adjacent to the sounding-board, reed-operating mechanism disposed to engage the front ends of the reeds, and means for tilting either section of the sound-box.

, 9. Inan1usicalinstrument,thecombination with a sound-box and a sounding-board constituting the rear wall thereof, of a soundconductor secured to the sounding-board and extended through the opposite wall of the box, a sound-chamber extended through the wall of the sound-box at a point below the sound-conductor and having its rear open side disposed adjacent to the sounding-board, a series of reeds partiallyinclosed by the soundchamber, and means for operating the reeds.

10. In a musical instrument, the combination with a sound-box having a soundingboard constituting one wall thereof, of reeds mounted Within thebox and extended through the side thereof opposite the sounding-board, sympathetic sounding devices mounted on the sounding-board and within the box, and means for operating the reeds.

11. In a musical instrument, the combinationwith a sound-box, and a sounding-board constituting the rear wall thereof, of a series of reeds mounted within the box and extended from the sounding-board to a point in ad- Vance of the box, a semicylindrical soundchamber partially inclosingthe reeds and having a rear open side disposed contiguous to the sounding-board, and sympathetic sounding devicescarried by the sounding-board within the box.

12. In a musical instrument, the combination with a sound-box, and a soundingfboard constituting the rear wall thereof, of reeds extended laterally from the sounding-board, a semicylindrical sound-chamber partially in- IIO closing the reeds and having an open side located adjacent to the sounding-board,a soundconductor extendinglaterallyfrom the soundbox at a point above the sound-chamber, and a series of sympathetic sounding devices mounted on the sounding-board within the box. v 13. In a musical instrument, the combina tion with the reed-operating mechanism, of two separate series of reeds, and means for moving the series of reeds independently toward or from the reed-operating mechanism.

14. In a musicalinstrument, the combination with reed-operating mechanism, of reeds movable endwise toward ,or from the reed-operating mechanism,- said reeds being divided intoindependently-movable series,and means for moving each series of reeds independently of the other series.

15. In a musical instrument, the combination with a sound-box composed of independently movable sections, of reed operating mechanism in spaced relation to the box, and a series of reeds mounted upon and movable with each section of the sound-box.

1b. In a musical instrument, the combination with a sound-box composed of a pair of vertically-disposed independentlymovable sections, the rear wall of each section being formed by a sounding-board, a series of horizontal reeds extended from within each of the sound-box sections, reed-operating mechanism disposed to engage the ends of the reeds, and means for effecting the independent movement of the sections of the soundbox.

17. In a musical instrument, the combination with a series of keys, and a series of resonant bars suspended above the same, of pivoted hammers arranged to strike the bars and each disposed to be directly engaged by a key, a series of reeds disposed end to end with the keys, and pickers extended from the rear ends of the keys and disposed to engage the reeds.

18. In a musical instrument, the combination with a series of keys, of a soundingboard located above the same, a series of resonant bars suspended from the soundingboard, a series of pivoted hammers arranged for direct actuation by the keys, means for moving the hammers simultaneously into or out of operative relation with the keys, a series of reeds disposed end to end with the keys, and pickers extending from the ends of the keys to engage the reeds.

19. In a musical instrument, the combination with keys and reeds disposed end to end, of pickers extending from the rear ends of the keys and disposed to engage the reeds.

20. In a musical instrument, the combination with a key,and a reed disposed beyond the rear end thereof, of a picker slidably mounted in the key, and means for automatically moving the picker to cause it to engage the reed during one movement of the key and to clear the reed during the opposite movement thereof.

21. In a musical instrument, the combination with a key provided with a guide in its rear end, of a picker movably mounted in the guide, cams arranged to shift the picker 1ongitudinally, and a reed disposed to be engaged by the picker during one movement of the key.

22. In a musical instrument, the combination with a key, a longitudinallymovable picker mounted in the rear end thereof, a cam-plate associated with the picker and extended above and below the same, reverselycurved guides disposed above and below the key for engagement with the cam-plate to shift the picker longitudinally in opposite directions during the opposite movements of the key, and a reed disposed beyond the key for engagement with the picker.

In a musical instrument, the combination with a key, a picker and a reed, of a camplate carried by the picker, a movable support having a cam-face disposed for engagement with the cam-plate, and means for adjusting the position of the support.

2%. In a musical instrument, the combination with a key provided with a picker in its rear end, and a reed arranged for engagement by the picker, of movable supports disposed above and below the key and having camfaees, a cam-plate carried by the picker and disposed for engagement with the curved faces of the supports, and means for shifting the position of the supports.

25. In a musical instrument, the combination with a key, a picker operated thereby and a reed, of hinged supports located at 0pposite sides of the picker and provided with cam-faces, a eam-plate carried by the picker and having curved faces disposed for engagement with the cam-faces of the supports, means connecting the supports to insure their movement in unison, and an adjusting device connected with one of the supports to shift the position thereof.

26. In a musical instrument, the combination with the keys, pickers and reeds all disposed in substantially the same plane, of a series of metal strips terminally supported above the reeds and disposed for engagement with the free ends thereof, a series of resonant bars suspended above the keys, a series of pivoted hammers disposed below the rosenant bars and having arms extended into engagement with the keys, means for moving the metal strips into and out of engagement with the reeds, and means for moving the several hammer-arms out of engagement with the keys.

27. In a musical instrument, the combination with a sound -box having a soundingboard constituting the rear Wall thereof, of a sound-chamber extended through the front wall of the box, a series of reeds partially i11- closed by the sound-chamber and extended into close relation to the sounding-board, and muffling devices for the sounding-board and sound-chamber, respectively.

28. In a musical instrument, the combination with a sound-box having a soundingboard constituting the rear wall thereof, of a sound-chamber extended through the front wall of the box, a series of reeds partially inclosed by the sound-chamber and extended into close relation to the sounding-board, muffling devices for the sounding-board and sound-chamber, respectively, and a single pedal connected to both of said muflling devices.

29. In a musical instrument, the combination with a casing having a movable soundopening front and reeds, of a sound-box located within the casing and having a sounding-board constituting the rear wall thereof,

IIO

a curved sound-conductor extending from the sounding-board of the sound-box, through the front of the box and into close proximity to the sound-opening front, means for operating the reeds, and means for adjusting the position of the sound-opening front to increase or diminish the sound.

30. In a musical instrument, the combination with a pivoted key, of a picker projecting from the rear end thereof, and a reed secured atone end and havingits free end in lapping relation with the picker.

31. In a musical instrument, a series of reeds, a series of keys each carrying a pickerarm to engage a reed, and means for adjusting the picker-arm with relation to the reeds.

32. In a musical instrument, the combination with an adjustable sound-box carrying reeds, of keys disposed in front of the soundbox, picker-arms adjustable on the keys and arranged to engage the reeds,vmeans for adjusting the sound-box, and other means for adjusting the picker-arms upon the keys,

whereby the engagement of the arms with the reeds may be adjusted by the movement of both the reeds andarms.

33. In a musical instrument, the combination with an adjustable sound-box carrying a series of reeds mounted therein, of a soundconductor extending from the box, means located in the sound-box for producing sympachamber partially inclosing the reeds, and

reed-operatin g mechanism disposed to engage the front ends of the reeds.

35. In a musical instrument, the combina tion with a key, and a reed, of a picker extending from the rear end of the key for movement therewith and having limited independent movement, a cam forautomatically efiecting such independent movement of the picker when the key'is depressed, and means for adjusting the position of the cam to regulate the extent of the engagement of-the picker with the reed during the movement of the key.

In testimony that I claimthe foregoing as my own I have hereto affixed my signature in the presence of two witnesses. IRA F. GILMORE.

Witnesses:

J. MINOR-PRICE, MORRIS E. DOOLEY. 

